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Full text of "Movable stationery"

MOVABLE 

STATIONERY 



Volume 1 2 

Numb e r i 

Feb ruary 

2004 



Peepshows 

Margaret Towner 
London, England 

In unfolding the delights of Sabuda's Alice in 
Wonderland, one of the first to be opened is the rabbit 
hole, a concertina-folded tunnel down which Alice falls 
past shelves of books. This is the latest version of a very 
old type of movable paper toy, the peepshow, which is 
closely related to the movable book, but has its own 
history. It is part of a continual effort to create an 
alternative three-dimensional environment, sometimes 
referred to as the pre-cinema, but which now perhaps 
should be called pre-virtual reality. 

In the 
late 17 th and 18 th 
centuries, as an 
aspect of a new 
interest in 
science and the 
natural and 
man-made 
wonders of the 
world, wealthy 
people began 
increasingly to 
travel f o r 
pleasure and 
education, and to 
bring back souvenirs and pictures. For poorer people, this 
interest was satisfied by street showmen, who travelled 
from town to town carrying boxes, inside which were 
views, given a three-dimensional effect with the aid of 
simple lenses and/or mirrors. An enterprising publisher 
of graphic material in Augsberg, Germany, Martin 
Engelbrecht, decided to produce a version of these views 
for private enjoyment in the home. This took the form of 
a miniature theater in stiff paper, with a proscenium, 
usually five cut-out pieces of scenery, and a backdrop. 
These theaters were made in three sizes, widths about 3 
inches, 5'/£ inches, and 8 inches. They could be slotted 
into various types of display boxes, some of which are 
themselves attractive items. The printed scenes are hand- 
painted, usually well done in most attractive vivid colors. 

Continued on page 2 




"The Deerhunt" (Hirschjagd) by 
Martin Engelbrecht 



Fraakfurt Book Fair 2003 

Books to Play With. ..and Toys to Read 

Part 1 of 2 

Theo Gielen 
The Netherlands 

The slogan "Books you can play with... and toys you can 
read, " found on the stand of Cowley Robinson Publishing, 
characterizes for me this year's production of children's 
books as seen at the Book Fair in Frankfurt in October,2003 
- at least for "books" for children up to 8 or 9 years of age. 
It is my impression that an increasing number of books for 
this age include additional play or tactile elements that make 
them enjoyable (paper)toys. Often these elements do add an 
educational value to the book and almost always they are 
designed to aid in the development of motor skills of the 
younger child. However, in other cases there is no reason 
for the playful additions and they seemed to be added just for 
commercial reasons - to make the "books" more marketable. 
Sometimes the story was so minimal that it might have been 
better to call the item a toy with text. I saw, for example, 
some great cardboard dollhouses with fronts that open to 
disclose four inside rooms. The rooms, on two levels, are 
separated by a corridor or a bathroom and the roof opens to 
make the attic accessible. Only at second look were the little 
textbooks discovered, hidden in small compartments 
between the walls, or in the 
side walls, or in the back of 
the house. The titles are The 
Mother Goose Lullaby 
House and The Fairytale 
House: Little Red Riding 
Hood, illustrated by 
Katherine Lucas and seen at 
the stand of the packaging 
company Book Studio from 
Kettering (UK). They also 
displayed a paper Christmas 
novelty: Carrousel de Noel 
Musical. The carousel, 

boxed in a colorful, window-paned packaging, has four 
hidden mini text booklets and an extra musical Christmas 
tune. Published now only in French for Reader's Digest 
Selection in Paris and Canada, they are surely desirable toys 
for little girls; attractive, innovative and cleverly designed. 
But are they books? 

Continued on page 11 




Olios Welt 



The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of the 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annual membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, Movable Book Society, P.O. 
Box 11654, New Brunswick, New Jersey 08906 USA. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 

e-mail: montanar@rci. rutgers. edu 

Fax: 732-445-5888 

The deadline for the next issue is May 15. 



Peepshows, continued from page 1 

Many other Kinds of optical toy were produced in 
the late 18th and early 19th centuries, but the next 
development to contain the elements of paper construction 
and a strong three-dimensional character were the 
souvenir peepshows which appeared in the 1820s and 
were widely popular until the advent of stereoscopic 
photography. In their average size, and in the depth of the 
scenes when fully displayed, they do seem to relate to the 
Engelbrecht theaters, although there may be no direct 
link. The innovation was to link the separate scenes by 
concertina-folded strips of plain paper, invisible when the 
peepshow is extended, but giving stability and a quick 
method of folding up and putting away in a card sleeve or 
an integral box. Like the showmen's boxes, viewing is by 
one or more peepholes, giving an even more private 
entrance to the world within. They were produced in 
volume by publishers, often anonymous, in France, 
Germany, and Britain. German ones tend to have the title 
in German at the top of the front or proscenium, and 
alternative titles in English and French below. French 
ones tend to have the paper concertina top and bottom of 
the scenes, German at the sides. The subjects tend to be 

tourist in 
character, 
towns, cities, the 
castles of the 
Rh in e and 
harbors. More 
adventurous 
subjects relate to 
technological 
advances. In 
Germany, there 
"The Large Canal of Venice" W as the first 
German peepshow with five railway, 

scenes and a backdrop. No Nuremberg to 

publisher, probably 1840 or F u r t h . In 

earlier from inscription. Britain, the most 




popular were the Great Exhibition of 1851, and the Thames 
Tunnel, both being published in many different forms. These 
two subjects were also included in Dean's New Magic Peep 
Show Picture Book, about 1860, in which the world of the 
peepshow and the movable book seem to have fused. 

More recently, the peepshow format has been revived 
only rarely, examples being the Coronation and Jubilee of 
Queen Elizabeth, and The New York World's Fair, in both 
cases with conscious nostalgia. Edward Gorey's The Tunnel 
Calamity is also an exercise in tongue-in-cheek humor. Early 
examples are now scarce and therefore expensive, but provide 
a genuine look into a three -dimensional past. 



Vojtech Kubasta 
An Exhibition in Berlin 

Theo Gielen 

In early December, shortly after the publication of 
November issue of the Movable Stationery, I accidently 
discovered that an exhibition of the works of Vojtech Kubasta 
(1914-1992) had opened in Berlin on November 28, 2003. It 
was a well-kept secret as even though there are not a lot of 
pop-up collectors here everyone knows each other and none 
had heard anything about it. Even the German collectors had 
to be informed about what was happening in their own 
country....! 

From inquiries we learned that two Berlin Kubasta 
collectors, Thomas Gubig 
and Sebastian Kopcke, had 

worked for three years to 
research his life and work 
and to collect as many titles 
as possible to compile this 
exhibition. How did no 
collector get wind of it 
during the preparation time? 
But, all of a sudden, there 
was a display of some 180 
copies representing just over 
100 different items (books 
and paper ephemera) of the 
beloved Czech designer and paper engineer, showing almost 
the complete range of what he published between the early 
1940s and the late 1980s. The items were colorfully displayed 
in glass showcases - and a couple of them were in the "open 
air" to be handled over by the visitors. A glimpse of the layout 
of the exhibition can be seen at their website www.pop-up- 
buecher.de. 

Continued on page 14 




Pop up: Die 

dreidimensionalen Bucher 

des Vojtech Kubasta 



Paris exhibition: 
Unrecorded Meggendorfer and Dean 

Theo Gielen 

It was a heart-warming experience to see the window 
of the usually highly-priced bookshop Nicaise, the Mecca 
of bibliophile France, crowded with dozens of pop-up 
books, both old and new. A feast of three-dimensional 
artwork was the result of opened books that seemed to 
float freely in the space and ranged from the opened 
dioramas of the spectacular 1883 Grande Theatre en 
Action (Theater Picture Book - rare in any edition), and 
a stand-up scene from La Grande Menagerie (1883), both 
books with wonderful chromolithographs, through some 
recent artists' books by the French artist UG, to a selection 
of seven extravaganzas by Robert Sabuda including the 
only French edition of his works, Lettres de Noel (The 
Christmas Alphabet). What a great promotion of movable 
and pop-up books was seen in the very heart of Paris, in 
the middle of the smart Boulevard Saint Germain! I was 
not the only one to stop and admire - during my visit I 
frequently saw new faces admiring the books. Even more 
remarkable is the fact that until just this past year these 
books have been severely neglected in France. 

The ambassador of movable books who caused all this 
is the young Paris antiquarian bookseller Jacques Desse, 
assisted by his friend Thibaut Brunessaux. He is a lover 
and collector of these books and dared to exhibit some 
beautiful items from his own collection, not for sale, next 
to the items from his trade. Although only a mere five 
years in the business, Mr. Desse proves to have an 
exceptional nose for finding well-preserved copies of rare 
and highly desirable movable oddities. By this he 
managed to do a second exhibition only one year after his 
first. It was a surprise to see lots of newly-acquired rarities 
and only the price kept me from buying them. His 
promotional work extends beyond buying and selling. In 
the December 2003 issue of Le Magazine du Bibliophile 
(with an almost full-page illustration of a scene from 
Meggendorfer' s Circus on the front cover) he published a 
nicely illustrated contribution on the history of the 
movable book focusing on the French representations. 1 

Mr. Desse takes pride in cataloging and dating the 
books as accurately as possible. That is not easy since he 
has had to develop an adequate vocabulary to describe the 
books since no one else in France has done it before. By 
all of this he is developing himself as the only specialist of 
movable books in France and his catalogs will prove to be 
an indispensable resource for further research of 
(historical) movables-mainly French, but not exclusively. 
Being a researcher myself, I pay homage to booksellers 
who do their job in Mr. Desse' s careful way. 2 



But let us enter the holy rooms of Nicaise where I received 
a friendly welcome and was given a well prepared list of the 
books and their descriptions, although without prices. I 
wondered if the staff could read from my physiognomy that I 
didn't come to see their precious collection of rare books 
downstairs as I was immediately shown where to go upstairs 
to the quiet room of the exhibition. Three of the four walls 
had showcases from floor to ceiling. The fourth wall had a 
showcase in the middle, full of movable and pop-up Alice's, 
and to the left and the right of the case were large windows 
facing the church of Saint Germain des Pres, the well-known 
Paris landmark. 

All of the showcases were filled with nicely lighted 
movables, novelties, three-dimensional artists' books, pop- 
ups, and paper oddities. Like in an art gallery, a list of prices 
hung on a wall and, although I was there on the very first day, 
several of the most desirable items were already red-stickered, 
sold at the opening session the night before. 

While not intending to give details of all 137 items on 
display, I will highlight here just some of the rarest ones and 
especially two that have never before been recorded or 
documented. I am sure Mr. Desse will supply the complete 
list if you contact him at the address mentioned in note two at 
the end of my contribution. Besides, all items are included in 
the catalog. 

There was a well-chosen selection of modern books from 
the second golden age: Carter's Elements of Pop-up and Love 
Bugs; Foreman's Magic Box; Keith Moseley's Steam 
Locomotives and his The Naughty Nineties; and Barbara 
Cooney's Peter and the Woolf. Books designed by 
Pierikowski, Goodall, Tommie de Paola, Paul Zelinsky, 
Pavlin, Kubasta, Kathleen Hale, and Ron van der Meer were 
show as were Anthony Maitland's Encore, Greenberg's Pop- 
up Book of Phobias, Gorey' s Dracula and its newly-published 
counterpart, Huffman's Teatro de Mexico and more. All, of 
course, were in their French editions when translated. 

Highly intriguing for several 
reasons were the three rare, 
early specimens of erotic prints 
from about 1 800, engraved and 
hand-colored. Two of them, so 
called "unfolding letters," were 
made from a small sheet of 
paper that had been folded in 
such way that the texts and the 
pictures always mix when 
unfolded. Vive la Pipe and 
another untitled one both 
unfold in four stages from 
innocent images such as a rose or a pipe-smoking man, 
respectively, into scenes that Mr. Desse described as "very 
libertine" and accompanied by texts that he called - with a 




La Lanterne Magique 



French sense of understatement - "not without charm." 
The third one, entitled La Lanterne Magique, Piece 
Curieuse, with a puzzling added N.I (number one), 
suggesting there had been a series of them. It unfolds in 
six stages from a scene of two girls looking into a raree- 
show operated by a man on the front into a highly erotic 
scene with several nude men and women. One man, 
strangely enough in full dress, can be moved by a lever on 
the backside of the sheet. In the demonstration I saw it 
had such life-like action that Mr. Meggendorfer, the 
master of natural movements in paper constructions, 
would have been jealous... It is a wonderful item for any 
(adults-only) collection. And though all three were made 
out of one sheet of paper, the constructions of turn-up and 
turn-down (and turn to the left or the right) reminded me 
of the Harlequinades of the 18 th century. I had never 
before seen this kind of paper ephemera from this period, 
and I enjoyed them. 

Another remarkable item in the exhibition dating from 
before the beginnings of the "real" movable books, about 
1855, was a copy of the Globe Artificiel et Mecanique a 
I'Usage du Petit Geographe (Artificial mechanical globe 
for the use of the little geographer), an engraved and 
hand-colored inflatable paper globe, published about 1 825 
by Augustin Legrand in Paris. By pulling the cords 
attached to the poles, the globe puffs up. After its use the 
six oval parts that form the globe can be flattened again 
and put away in its portfolio. The flaps are printed with 
geographical information. It is a rare, delightful, and 
fragile educational oddity shown here in mint condition. 
Unfortunately, a second, English language copy that I 
have never seen recorded, The Artificial Globe: 
Representation of the Five Parts of the World, published 
by Schulz in Stuttgart/Germany at about the same time or 
earlier, was missing the paper globe. Instead of the globe 
pasted into it there was (the remains of) an early leporello 
of 15 representatives of nations in their national costumes 
and its (?) original front cover with the title The Original 
Earth Globe listing the names of the pictured nations. A 
puzzling item altogether... 

It was nice to see a well-preserved copy of Histoire des 
Voyages (about 1825) complete with its seven loose, cut- 
out pictures, published by Charles Tetaille and earlier 
described by me as a book with (re-)movable pictures in a 
contribution in the Movable Stationery? This is very rare 
as few books used this kind of movable illustration. 

From the same time and the same publisher was shown 
the second edition ofZ.es Contes des Fees mis en Action 
(The fairytales set in action) displayed here with 23 (out 
of 26) small cut-outs that have to be inserted into one of 
two backgrounds (an indoor and outdoor scene) to 
illustrate various episodes of the fairytales of Little Red 
Riding Hood, Ricky with the Tuft or Tom Thumb as told in 




the booklet itself. 

Books that represent the first Golden Age of movable 
books filled some further bookcases. Books originally 
published by Raphael Tuck, for instance, La Belle au Bois 
dormant (Nancy, ca. 1910), and the Sleeping Beauty from the 
series of panaroma books with cut-out figures to insert. Also 
included was Nister's Panorama Pictures (1894), the optical 
novelty of Le Motographe (1899) with the front cover 
illustrated by Toulouse-Lautrec, and a Russian movable Little 
Red Riding Hood (ca. 1910) with pull-tabs that make two 
parts of the picture move at once. 

Among the Dean's titles 
were Le Bonhomme Jovial 
(1864), the French edition of 
Dean's The Jolly Old Man with 
one head, printed on the inside 
of the back-cover and showing 
through all the other pages and 
the front cover to match with 
the pictures found there, and a 
rare copy of Robinson Crusoe: 
Feerie a grand spectacle en 7 
actes et 49 tableaux (Emile 
Guerin, 1892), from Dean's 
Pantomime Series done in the 
shape of a theater. A big 
surprise was finding an English Dean title that appears to be 
previously unrecorded: The Jumping Jack in the box (about 
1900-1905?) from a likewise unknown series of Dean's 
Magic Surprise Series with a puzzling "Printed in Germany" 
never before seen on a Dean book. Two spreads of the book 
offer a simple V-fold that unfolds above the top of the pages 
and though simple in its mechanism it gives with its 
chromolithographed pictures a great effect. A third spread 
similarly unfolds both at the top and the bottom of the spread 
showing a magnificent Punch and Judy opposing each other. 

There were two copies of Les Metiers en Action 
(Professions in action). The first was in its magnificently 
hand-colored wood-engraved first state, as published by the 
Librairie Francaise et Etrangere in 1864, when the book still 
had the hidden mechanism of rubber bands that pulled the 
figures automatically back after the pull of the tabs (broken 
here as it always is). The second was the 1882 remake of this 
book done by Legrand in Paris, with fewer plates and inferior 
printing quality, provided a nice comparison. 

And of course there were a lot of Meggendorfers - in 
French: Scenes et Tableaux a Surprises (1895), La Tete a 8 
Corps (1900), Voyages et Aventures Extraordinaires de Mr. 
Raphael de Rubensmouche (1899,), Grand Theatre des 
Animaux Savants (1902), and Man Oncle Tonton (1898). 




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MOVE 



AUGUST WEHRFRITZ WHO? 

Julian Wehr was born August Wehrfritz on June 30, 1 898 in Brooklyn, New York 
to German immigrant parents. In April, 1 970, he suffered a heart attack and passed away. 

That's all we can share right now. But if you want to hear more about his life, 

sign up for the 5th Movable Book Society Conference this Fall. 

Julian Wehr's son (and perhaps some other family members) 

will be there to talk about him and his work 

So Wehr, en where will you be from September 30 to Ocober 2, 2004? 
In San Diego, California, of course! 



THE 5th MOVABLE BOOK 

SEPTEMBER 30 - OCTOBER 2, 2004 




SOCIETY CONFERENCE 

SAN DIEGO. CALIFORNIA, USA 




And again Mr. Desse 
popped up with a hitherto 
unknown French 
Meggendorfer title: 36000 
Bonnes Femmes Comiques 
(1 900) that proved to be the 
female counterpart of the 
previously recorded 36000 
Bonhommes Comiques 
( 1 900) showing 1 4 pages of 
comic female figures 
divided in four parts (hats, 
heads, bodies and legs) to 
mix and match. It is not 
mentioned in Mrs. Krahe's esteemed bibliography nor in 
the Sotheby auction catalog of the Meggendorfer Archive 
nor in the well-known Justin Schiller catalog! What a 
sensational find by Mr. Desse and an exciting experience 
for your reviewer to see. 

From the 1920-1950 period were shown, among others, 
a nice Italian movable La Maschere Animate (1944) 
illustrated by Atilio Mussino, a volume of Giraud's Old 
Rhymes & New Stories, some parts of the movables 
illustrated by the renowned French artist Germaine Bouret 
published by Les flots bleus in Monaco and highly 
reminiscent of the Julian Wehr books. Pop-ups published 
by the rather mysterious publisher of Lucos from 
Mulhouse included the original designs and dummy of 
their La Belle au Bois Dormant (Sleeping Beauty), the 
only two flap books by Bruno Munari published in French 
in 1946 when his books first appeared in Italy: Le Cadeau 
de Marc and Jamais Contents. Two rather rare 
anthroposophic movables by Hilde Langen were shown: 
Schneewittchen (1926) and Schneeweisschen und 
Rosenrot (1932). The French edition Joyeux Noel 
(Editions Cocorico, 1953) an early and rare Richard 
Scarry Christmas title published in the Big Golden Books 
series, had a pop-up Father Christmas folding out from a 
chimney. 

Acclaimed by Desse as one of the nicest novelty books 
to be published for children in the 20th century was Le 
Petit Elfe Ferme I'oeil (1924; The little elves close eyes), 
designed and illustrated by the French children's book 
illustrator Andre Helle. 

In this part of the exhibition Mr. Desse surprised 
viewers again by offering a copy of le Joyeux Remouleur 
et la Famille Felikin (Editions et publications 
contemporaines, 1927; The Felikin family and the happy 
knife grinder), a book with anaglyfic pictures, done in red 
and green to be viewed through the accompanying 
cardboard "Cinemascope viewer" that makes the pictures 
move by the change of sliding red and blue lenses. The 
book was designed by Theodore Brown, better known to 



readers as the original paper engineer of the Daily Express 
Children's Annuals and the (first) Bookano books. This 
French title - kind of a sequel to his better known The Cinema 
Book (1926) - does not appear to have been published in an 
English edition! 4 

At this special location were shown, of course, a selection 
of artists' books incorporating movables, pop-ups and/or 
three-dimensional scenes. Also displayed were copies of 
(very) limited editions designed by Andy Warhol and 
contemporary French artists like Claire Fay, UG, Bertini, 
Gaelle Pelachaud, Gilbert Lascaut, Marina Spivak, and 
others. In my opinion they were not as interesting from a 
paper engineering point of view, showing that the art of 
engineering paper really is a profession of its own....! 

Since Mr. Desse is a great fan of Robert Sabuda's paper 
artwork (we don't dare say anything critical about it!) he had 
a special display of movable and pop-up Alice's to celebrate 
the publication of Robert's Alice, an interpretation that was 
available in lots of copies, both signed and unsigned. Among 
the examples was a copy of the unusual and rarely seen Alice 
in Wonderland: Open the Book - See What Bobs Up! 
illustrated by R.M. Turvey and published by Collins in the 
1930s (most likely 1938) 5 . Announced as "an excitingly new 
idea for a children's book" it has two shaped colored scenes 
concealed within the covers which emerge above the top when 
the book is opened and - with a little nudging - sink down 
again when the book is closed. 

After the bookshop closed the staff came upstairs for an 
after-hours glass of wine with the small remaining company, 
amongst them the Paris paper engineer Gerard lo Monaco. 
We finished our tour viewing the books through the open 
showcases (the benefit of a sale exhibition!) guided by Mr. 
Desse himself, leaving still unmentioned many other items in 
the show. 

I wonder if Jacques Desse will be able to continue this 
young tradition of an annual exhibition and will surprise us 
next year with more "trouvailles" of this level. Meanwhile, I 
greatly enjoyed the wonderful experience of combining pop- 
ups and the city of Paris and continued in a terrific fin-de- 
siecle restaurant for a dinner that brought all the pleasures of 
the fine French kitchen. 

P.S. In the four weeks the exhibition was open, the Paris 
theater company Theatre au Clair de la Lune of Damien and 
Clement Schoevaert-Brossault performed several times "Dis- 
nous Dino: Le Grand Livre de revolution" (Tell us, Dino. 
The big book of evolution) using a huge, 60-page pop-up book 
with movable elements "in which you will discover page by 
page impressions, fossils, shell-fish, you will see strange 
animals from prehistory, a puppet book, a surprise-book that 
tells the story of life. A book that tells the astonishing pre- 
history of a young protoceratops. It was a book to look at, to 



listen to, and to dream in at all ages..." As a festive finale 
for the exhibition the group performed a selection from 
the play for invited guests on February 14th in the 
exhibition room of Librairie Nicaise. 

Notes: 

1 Jacques Dess, "Quand le livre sort des pages pour 
s'animer." Le magazine du Bibliophile, nr 33 (decembre 
2003/janvier 2004), 8-11. 

2 His second catalog of over 300 movable and pop-up 
books, that accompanies the exhibition, can be ordered for 
a mere 5.00 Euro through j.desse@wanadoo.fr. The 
catalog will not be published on the Internet since he 
prefers to be "a man of printed paper!" Where do you still 
find them ...? 

3 Theo Gielen. "Books with (re-)movable Illustrations," 
Movable Stationery, Vol.10, nr 3 (August 2002), 3 and 
14-16. 

4 Stephen Herbert, Theodore Brown's Magic Pictures. 
London, The Projection Box, 1997, 107 (where the title is 
erroneously given as Le joyeux Remouleur et la Famille 
Felix...) 

5 See: The Lewis Carroll Handbook, p. 241. 



Gerard Lo Monaco 
French Paper Engineer 

Theo Gielen 

Last January while 
visiting the Jacques 
Desse exhibition of 
movable books in 
Paris, I met a man who 
showed me a very nice 
carousel book that 
intrigued me since it 
looked rather different. 
The front cover, with a 
grey background and a 
black and white 
picture of a young man 
and a fox on a 
motorcycle, is done in lino-cut. The head piece identifies 
the makers as Les Associes Reunis. The whole book is 
bound half-cloth with red linen spine and is more like an 
artists' book than a brightly-colored children's carousel 
book. The man was Gerard Lo Monaco, one of few French 
paper engineers who, with his three female colleagues, are 
the "re-united associates," a Paris office of publishing and 
(graphic) design. 




"Perfumed Books" 

Annette Veenstra-Kalkhuis 
The Netherlands 

I'm a collector of pop-up books. I'm not a Theo Gielen 
who knows everything about his books, but I love them very 
much. In all of the European countries which I pass by on 
ship, I look for libraries and book sellers. Because we are in 
Paris very often, I know many of the libraries and also the 
bouquinistes, the booksellers on the Quais of the Seine. Upon 
the small wall they have packing cases from which they sell 
books. 

In November 2002 I met a man who told me about the 
plans for an exhibition of French movable books by the 
antiquarian bookseller Jacques Desse. I visited him in his 
book shop in the Marche Dauphine in Paris where he showed 
me beautiful books. After seeing his books I invited him to 
come see my collection on board of our ship that was then in 
Paris. He came and we talked about movable books, paper 
engineers, collectors, catalogs, and other things. I advised 
him to contact the Movable Book Society and Theo Gielen, 
my best "pop-up" friend in Holland. He bought a few books 
(duplicates) from me and invited me to come and see the 
exhibition (December 15, 2002 - February 7, 2003). 

After receiving the catalog I was very surprised to read on 
page 52 that two books acquired from me were "perfumed," 
number 487 Beauty and the Beast and other Fantastic Fairy 
Tales (Fran Thatcher and Ron van der Meer) and number 
489, about little bears (I don't know the title in English). I 
never perfumed my books! In centuries past sophisticated 
women perfumed their books. But not me! 

As I thought about it, suddenly I understood what had 
happened to these books. I store my books in the most hind 
part of the ship where we live, and they are not all in a 
bookcase, some are in plastic containers under the bed. (A 
ship is not a house!) My duplicate copies are also in a 
container in the front part of the ship where there is a small 
living area. Because we do not always heat this room, the air 
is not always fresh. It can smell of oil, paint, cables, and tools 
for the ship. So I put a nice smelling piece of rose soap in the 
book container and all of the books smell of roses. That was 
the perfume! When I told Jacques Desse the story, he laughed. 

It is a pity that I don't have a special book room but it is 
very small on board the Oostenwind (east wind). But the 
world around me is very big and very beautiful. I think that 
my collection is the "only floating movable book collection in 
the world." 



Continued on page 13 



Favorite Pop-up Books 

Betty Tisinger 
Moneta, Virginia 

I have sometimes had a fleeting thought that if my 
house were on fire and I could save only one armload of 
my books, which would they be. But I could never reach 
a conclusion because I could not give up the thought of 
those left behind to perish. So when Ann asked me to 
write an article naming my favorites, I said it would be no 
problem. You see, she was not asking me to leave any 
behind to be lost. Sure I can do that. 

I decided to start pulling from my shelves some I knew 
I liked very much and considered each one. But I soon 
realized that method was a mission impossible for each 
book, as I held it in my hands, was my favorite. So instead 
of looking for them I decided to let them call to me. The 
two categories I selected were books that called to my 
heart and to my mind. I surprised myself at some of the 
final selections. 

Calling to my heart, or perhaps I should say my 
emotions begins with The Pop-up Book of Phobias. While 
this is a very common problem, as many of us have 
phobias, it was certainly not what one would have thought 
of as a pop-up book. But Matthew Reinhart has brought us 
face-to-face in an almost teasing manner with some of our 
phobias. I have never feared the dentist but I can sense 
what that phobia must be like as I watch friends jump 
back a foot or two as I open that page. I must admit to my 
fear of heights and confess that I cannot even look at that 
page without a woozy feeling. My son-in-law, who is 
doing postgraduate work in counseling, took the book to 
one of his classes. It was a hit! I bet Matt never thought 
his book would become a part of the professional library 
of many counselors. 



Even the title of this 
book, Just You and Me, 
Grandpa, called to my 
heart and emotions. 
What young boy has not 
dreamed of a very 
special day with his 
grandfather doing 
something important, 
just the two of them, 
alone? And what 
grandfather has not also shared that dream? Mary Heller 
and Joanna Yardley created a gentle, loving story of going 
fishing together but more than that I was impressed with 
the manner in which the story, illustrations, and pop-ups 
are so beautifully integrated. Using multiple images and 
a variety of viewpoints integrating pop-ups and movables 
each page is a visual treat. Watch that big fish jump out 









m$e 



of the lake in his dream and enjoy the bird's eye view of 
grandfather rowing the boat. Share the gentle ending. It 
should be required reading, viewing, and sharing for 
grandfathers. 

Belle 's Surprise Party - 
oh, no! Not a Disney book 
you may be thinking for 
multiples of these have been 
created for the general young 
public. But is that much 
different from the Kubasta's 
that we treasure today? What 
called to my heart was the 
story behind it and one 
particular pop-up in the book. 
Fairytales have always been important to me not only as a 
child growing up but also sharing them with my children and 
now my grandchi ldren. These stories have deep psychological 
meaning in the development of children for here they find 
resolutions of problems they often subconsciously feel. In the 
fairytales the good guys always win - Hansel and Gretel get 
home safely with the riches, Jack brings down the beanstalk 
treasures for his mother, and in all cases the bad guys loose. 
Many of these fairytales have been marvelously interpreted in 
movable and pop-ups. But, for me, the most wondrous of all 
these tales of enchantment is Beauty and the Beast. 

Belle (Beauty) does not get to sleep through the perils of 
puberty like Sleeping Beauty and Snow White. Instead she 
must deal with all the problems of maturing. They are there, 
including Oedipus Complex, sibling rivalry, search for a true 
love, and meaning in life. In this one fairytale Beauty alone 
must reach that maturity. So until one of our gifted paper 
engineers (and they are out there) create in pop-up what 
Jacque Costeau did in film for this most wondrous of all tales 
of enchantment, I will have to be satisfied with one particular 
part of this book. As Belle twirls in the arms of the gentle 
beast I fancy that her heart is also beginning to twirl as she 
realizes that love is not based on physical appearance but on 
quality of character and greatness of spirit. She now sees that 
in the beast. Twirl, Beauty, Twirl. 

Having recently retired after 40 years of teaching at all 
levels from kindergarten through university, I have found that 
this business of teaching and learning gets into your blood to 
stay. So I always respond to a book that I might learn from or 
think I would have valued having in my classroom. My 
interest in fairytales also includes a love for mythology where 
human emotions are transferred to the gods in terms of moral 
and often immoral behavior. Pandora and Eve are two curious 
young women who are blamed for unleashing much evil in 
the world. Perhaps it is time that that mythology is revisited. 
Christos Kondeatis and Sara Maitland have created a 
Pandora 's Box that opens not a cache of worldly problems but 
a delightful wealth of written and visual information 




including pop-ups, interactive and movable wonders. 
Edith Hamilton would have approved. 

My second choice in "appeals to the mind" is actually 
a group. Ron van der Meer has created an enlightening 
group of packs. While I acknowledge the quality of all 
these pack books I select as my example The Music Pack. 
Although a lover of music, I have limited background in 
it. In fact, when I ordered a copy of The Rock Pack I 
thought I was getting a geology book. Well, I learned a 
lot. Informative, beautiful, and stimulating, these pack 
books are movable treasures to be enjoyed by all ages. 

Finally one cannot 
discuss teaching books 
without acknowledging 
the wealth of wonderful 
ABC pop-up books. But 
here again my love of 
fantasy brings one book 
to mind. In Robert 
Sabuda's ABC Disney we 
share the magic that Disney gave to a world in which 
"reality" can be overpowering. I was reminded of this 
magic taking my six year old granddaughter to Disney 
World and seeing the sparkle in her eyes as she delighted 
in each area of fantasy. Now again, we share this 
breathless excitement as, sitting on my lap, I feel her 
joyful anticipation as she slowly opens this wonderful 
treasure chest letter by letter. Although we have shared 
this book many times, each time is a new and thrilling 
experience. Add to the incredible pop-ups and movements 
involved is Robert's use of his own marvelous marbled 
papers that is enough to give an old art teacher an 
aesthetic seizure. 

Now I must stop and quietly and quickly get this article 
to Ann. Quietly lest my other books - and there are lots of 
them - hear a rumor that I have not picked them. Quickly 
because I could wake up in the morning with another 
whole different list of favorites. 



Questions and Answers 

Q. Roy Dicks was such a good detective tracking the 
last movie pop-up that I wonder if he can answer this 
question. A recent newspaper article about pop-ups began: 
"In 'Legally Blonde 2,' ditsy-but-driven lawyer Elle 
Woods champions animal rights in front of Congress - 
with a pop-up book. When lawmakers dismiss her, Elle 
(played by Reese Witherspoon) can't believe her visual aid 
didn't do the trick. 

"'But it's a pop-up book,' she protests." 



Which book was used in the movie? 

Ann Montanaro 

East Brunswick, New Jersey 

A. Wally Hunt contributed further to Roy's movie story with 
this tidbit. "Roger Schesinger, the younger brother of John 
Schesinger (he died in 2003), was Graphic International's 
U.K. publisher. He put the book in the movie. 

Wally sent along additional comments on the November, 
2003 issue. Andy Warhol's Index (Book) was produced by 
Graphics International in 1968 for Random House. 
Christopher Cerf, the son of Bennett Cerf, Random House 
Chairman, was a friend of Warhol's. Gerry Harrison of 
Graphics International was in charge of the project. 



Pop-ups in the News 

"In Him, Storyteller Meets Architect [Robert Sabuda]." New 
York Times, Metro Section, Tuesday, December 9, 2003. Page 
B4. 

"POPular Mechanics: The Wonder and Wizardry of Pop-up 
Books Today is Part Art and Part Engineering." By Larry 
Bingham. Baltimore Sun, Sunday, January 11, 2004. Home 
& Family Section, page 1. 

"Tired of Shopping? Build a Gift. By Robert Sabuda. New 
York Times, Saturday, December 20, 2003. Page A 19. 
[Instructions for making a peepshow.] 



New Publications 

The following titles have been identified from pre- 
publication publicity, publisher 's catalogs, internet sources, 
or other advertising. All titles include pop-ups unless 
otherwise noted. 



Bugs: Creepy Crawlers Face 
to Face. By Sally Hewitt. 
March, 2004. Harry Abrams. 
12 pages. $14.95. 0-8109- 
5032-4. 

Counting Creatures: Pop-up 
Animals from 1 to 100. By 
David Pelham. Little Simon. 
18 pages. $16.95. 0-689- 
85387-4. 



Let's Make It Pop-up. March, 
2004. By David A. Carter and James Diaz. Simon & 
Schuster. 10 pages. $12.95. 0-689-86508-2. 




Movable Reviews 

Marilyn Olin 
Livingston, New Jersey 



1= AWFUL 2= POOR 
3 = O.K. 4 = GOOD 

5 = SUPERB 



Rating: 4 

THE MAGICAL POP-UP WORLD OF WINNIE-THE 
POOH. By A.A. Milne. Ill: Andrew Grey based on E.H. 
Shepard. Paper Engineer: Keith Finch. Designer: 
Brushfire. Publisher: Dutton Children's Books, a division 
of Penguin Young Readers Group. Pub.:Nov., 2003 in the 
USA. ISBN 0-525-47141-3. $24.99. 27 x 22 cm. There 
are five fold-out, three-dimensional scenes which are all 
pop-ups with some movable parts. This is an intricate 
book which definitely needs an older child or an adult to 
put it together. It sets up similar to a theater pop-up. There 
are five scenes; some have movable parts. Each scene has 
a text excerpt that goes along with it in a pocket at the 
base of that set. The scenes are elaborate and well done. 
Children who are familiar with the story will delight in 
this book. Paper Eng.: Complicated, but everything works 
well. 



Rating: 4 Vi 




MONKEY 

BUSINESS. By Paul 

Stickland. Publisher: 

Ragged Bears. Pub.: 

Oct., 2003 in the USA. 

ISBN 1-929927-49-5. 

$17.95. 9x11 inches. 

12 pages. There are six 

elaborate double page 

pop-ups, some of 

which even have words 

which pop-out. The book is alive with glorious color and 

a delightful rhyming text. Young children will love 

discovering what the fuss is all about. Paper Eng.: Super! 



Rating: 4 

DREAMLAND. Illustration and cover author, Dana 
Simson. Design and text by The Book Company. 
Publisher: Glenn Johnstone, The Book Company. 
Pub. :Oct. ,2003 in Australia. Available on Amazon.com. 
ISBN 17404721 IX. The list price on the book is $12.75. 
List on Amazon is $15.95. 11x9 inches. There are 
sixteen pages and eight double-page pop-ups, including 



the title page. This is a delightful number pop-up to share 
with a young child at sleepy time. A bunny searches for 
Dreamland in charming colorful illustrations. Particularly 
impressive is the heavier than card paper that is used both for 
the book and the pop-ups. This is one book that a young child 
can handle and not accidentally ruin. The last pop-up 
showing the bunny in a house in Dreamland is particularly 
sweet. Paper Eng.: Well done! 

Rating: 4 

SUPER SUE. By Cressida Cowell. 111.: Russell Ayto. 
Publisher: Candlewick Press. Pub.: August, 2003 in the USA. 
ISBN 0-7636-2063-7. $7.99. 9.25 x 8.50 inches. 14 pages. 8 
fun pull-tabs, 2 pop-ups & one page with 5 lift-the-tabs on it. 
This is a darling book for a young child beginning to master 
simple tasks. You can help Super Sue slurp her pasta, brush 
her teeth, climb the stairs, etc. The illustrations are delightful. 
At the back of the book there is a Certificate of Superness to 
fill in with all the things a child can do. Paper Eng.: The pull- 
tabs work easily. 

Rating: 5 

THE COUNTRY MUSIC POP-UP BOOK. By the staff of 
The Country Music Hall of Fame and Museum. Design by 
David Hawcock. Editor: Ellen Cohen. Publisher: Universe 
Publishing, a division of Rizzoli International Publications, 
Inc. Pub. Oct., 2003 in the USA. ISBN 0-7893-0980-7. 
$45.00. 1 1.50 x 1 1 .50 x 2.00 inches. 10 pages. It is gratifying 
to have a publishing company willing to produce such an 
elaborate movable book. There are 9 wonderful pop-ups, 1 
tunnel book, 1 flip book, 1 changing picture, lots of little 
extra booklets, many removable items and some sound chips 
There is also a removable poster of rare recording disc labels 
that are in the museum's collection, a Hatch Show Print fan 
+ a booklet about The Country Music Hall of Fame and 
Museum. Within the book there are many essays about 
country music and its performers. This is a must-have for 
anyone who loves country music and/or pop-up books. It has 
almost every type of movable delight in it and is full of 
wonderful memorabilia from the museum, including 
instruments and landmarks. Paper Eng.: Wonderful, 
especially the guitar! 



Rating: 4 

IN A SPIN. Text by Christine Tagg. 111.: Bill Bolton. Design 
& Paper Engineering: Andy Mansfield. Publisher: Silver 
Dolphin. Pub.: Sept. 2003 in the USA. ISBN 1-59223-084-9. 
$12.95. 10.74 x 8.70 inches. 16 pages. Bill Bolton's 
illustrations are vibrant and delightful. The pop-ups featuring 
Webb the Spider and his BusyBugz friends and the fun 
rhymes will quickly engage the interest of any young child. 
Paper Eng: Fun and the pop-ups work well. 



10 



Frankfurt Book Fair, continued from page 1 

Not to be overlooked was the flood of books-with- 
puzzle. Most of the classic children's books (Alice, Winnie 
the Pooh, etc.) or best selling picture books (The Gmffalo) 
were seen in their jigsaw transformation. Has a factory 
opened with a machine that inexpensively does the 
cuttings? This same thought came to me in relation to the 
"magnetic books" of which I also saw a lot more this year 
than in other years and they usually showed no more 
inventiveness than to attach the loose pieces (of a farm, a 
zoo, letters, or clothes) onto a simple background. 

New from the U.S. and the U.K. 

Graham Brown of Brown, Wells and Jacobs showed 
me the dummy of their Magnetic Lofty that appeared to 
use magnetic parts in a more original way. The magnetic 
pieces, laid into the pages, can be removed by the movable 
arm of a machine brought to the "right" place in the 
illustration, for example, to form the band of a footway. 
The "Man in Black" showed me some other new pop-ups 
from B WJ such as Noah and the Ark: A Pop-up Book with 
art and paper engineering by Ruth Wickings, Let 's Look 
at Wild Animals (with a nice, ingenious crocodile on the 
last spread), and Let 's Look under the Sea, both filling the 
never-ending demand for books on (wild or unusual) 
animals. They have small pull-out booklets with 
information along with sturdy pop-ups. Animal World 
Pop-ups: Look at all my Colors, with a funny chameleon 
catching a fly with his unrolling tongue, and Dinosaurs: 
Any Questions?, are the first of what will be a series of 
"Colorful and informative question and answer pop-up 
books" with a bold pop-up of an animal on every spread 
and an accompanying booklet with small pop-ups. Betty 
Spaghetty: Betty 's World Tour (Random House, 2004; 0- 
375-87624-6) is an inventive book with a "cool and mix- 
and-match wheel" on the cover that changes Betty's head 
coverings and inside gives the opportunity to mix the 
heads, bodies and legs by the use of three superimposed 
wheels. Highly innovative will be the "World's first pop- 
up cloth book" developed by BWJ and seen only so far in 
a blank dummy. 

Aiming at the same mass market, with computer art 
done in vivid colors (reds, blues, greens and yellows) and 
straight forward, not-too-complex paper engineering, are 
the books produced by The Book Company from 
Australia. The use of uncomplicated subjects such as 
monsters, animals and machines make the books 
universally appealing all over the world. Since a huge 
number of printed copies results in a very affordable price, 
the customer is satisfied with the feeling of getting value 
for his money. Last year we saw titles like Mighty 
Machines and Great Machines, the rights to which sold 
briskly to more countries. New this year are Secrets of the 



Sea, Playful Planet (wild animals playing with their young), 
and Magic Planet. Also new is their series of Happy Pops: 
Dino-mite, Frog-tastic, When I Grow Up, and // 's a Monster 
Surprise, and the pop-up counting story Dreamland by Dana 
Simpson. They also have their glitter pop-up book Lucy the 
Star Catcher, illustrated by Helen Brawley. My Toy Shop has 
with two movable finger-tips in the three-dimensional front 
cover. 

That this middle market of pop-up books sells well is 
shown by the presence of a new U.K. company Book Studio. 
Started in January 2003, they attended the fair for the first 
time and showed a whole range of pop-up books with 
illustrations bought from an illustration office and with pop- 
ups made by unknown paper engineers supplied by the same 
office. The company's official, to whom I have spoken, could 
only me give me the name of one paper engineer, Brian 
Battle. And again they covered safe subjects such as Monster 
Machines Pop-up Book and Giant ABC Pop-up Book 
(illustrated by Jo Goodberry). Three books with illustrations 
by Gill Guile are Trains, Boats and Planes Pop-up Book 
(Bumblebee Books, 2003; 0-9544708-0-5), My Nursery 
Rhyme Pop-up Book (Bumblebee Books, 2003; 1-902367-83- 
9), and Noah 'sArk Pop-up Book (to come in 2004). There is 
also a series of four Pop-up Fairy Tales: Goldilocks and the 
Three Bears, Jack and the Beanstalk, Little Red Riding Hood, 
and The Three Little Pigs. In the three Changing Pictures 
books, parts of the illustration change with the pull of a tab: 
Jungle ABC, Pre-School Playtime, and My Busy Day. And a 
final quartet of Who Am L? Pop-up Flap Books with a half- 
page flap hinged onto the right side of the recto pages and 
revealing a pop-up figure when opened are Fairy Tales, Farm 
Animals, Nursery Rhymes, and Wild Animals, all to be issued 
in 2004. These pop-up and movable books are okay but they 
hardly make the collector's heart beat faster. 

The enormous production through the years of the 
successful combination of Brainwaves' Keith Faulkner and 
Jonathan Lambert is continued with some new titles done in 
their successful formula: Animal Poptastic Antics: Big Noses 
& Floppy Ears (W.H.Smith, 1-85565-118-1), and Animal 
Poptastic Antics: Bobbing & Smiling (W .H.Smith, 1-85565- 
117-3), and The Hiccupping Hippo (Dial Books, 2004; 0- 
8037-2963-4). 

A new packager, Caterpillar Books, an imprint of Magi 
Books but publishing their pop-ups under the imprint Little 
Tiger Press is offering a quartet of Peek-a-boo Pop-ups for 
2004. Illustrated by Jack Tickle and paper engineered by 
Martin Taylor they are The Very Bouncy Bear, The Very 
Happy Hen, The Very Lazy Lion, and The Very Silly Shark. 
The sequel to last year's Face to Face Safari will be issued by 
Poppy Red in 2004, Face to Face Bugs with six giant pop-up 
bugs. 



11 



Intervisual Books had a reduced presence at the Fair 
(at least for the size of their stand and the stay of their 
officials) and showed only modest new pop-up and 
movable production. Their book The Odds Get Even! The 
Day the Odd Numbers Went on Strike by Pamela Hall and 
Lyane Chapman is the counterpart of last year's 
Elemenopee. The movable Under Construction (Piggy 
Toes Press 2003; 1-581 1-7272-9) offers five spreads with 
(detachable) trucks that slide on working tracks. A simple 
final pop-up shows the completed shopping mall as the 
result of all the construction activities. Also on display 
was a new Sinbad Legend of the Seven Seas: The Pop-up 
Adventure (Piggy Toes Press, 2003; 1-581 1-7173-4), a tie- 
in to the Dreamworks film that invites readers to "watch 
Sinbad's exciting adventures pop-up and come to life." 
They were also showing Chuck Murphy's still 
unpublished Animal Babies A to Z, seen last year at White 
Heat's stand. The black and white alphabet book reveals 
colorful pop-up scenes of animals when the flaps are 
pulled down. The tendency that we have noticed for the 
past couple of years at Intervisual Books is to do more 
mass market, rather simple novelty books (with tactile 
elements, sound effects, glittering foil, simple pull-tabs, 
flaps, etc.) instead of producing more complicated 
upmarket pop-up books. 

The future publishing direction was frankly stated by 
David Fielder Director of Tango Books / Sadie Field 
Productions. He thinks the intricate pop-up books will 
more and more be the "toys for adults." But Tango Books 
still showed some new titles that are of interest to 
collectors. Adding to their series of pop-up board games 
will come the new Book of Roman Pop-up Board Games 
by Kevin Maddison (fall 2004). Emma Damon made a 
new shaped book, Postman Fox: A Pop-up Book and 
Postcards (1-85707-577-3) with pull-tabs, wheels and 
pop-up elements. And a sequel to John O'Leary's Spooky 
Ride of last year will be his Pirate Treasure Hunt: A Pop- 
up Book (spring 2004). 

Pop-up toys for adults... 

Surely the pop-ups books that Mr. Fielder had in mind 
were the ones found at Universe Publishing where I saw 
the first copies of David Hawcock's The Ancient Egypt (0- 
7893-0985-8) published in association with The British 
Museum. A "pack" in the tradition of Ron van derMeer's, 
it has a lot of information and all kinds of paper artwork 
to illustrate the subject. Unfortunately, I thought the paper 
used for the book was rather weak, resulting in problems 
unfolding of the pop-ups. Removing the mask on the face 
of a mummy, for example, proved to be an almost 
damaging activity. I think, also, it is rather strange to use 
a peepshow with a dominant picture in its first cut-out that 
the rest of the scene can hardly be seen. Universe also 
showed The Country Music Pop-up Book (0-7893-0980- 



7), and though very informative and appealing, it also suffers 
from troubles in the unfoldings and closures of the pop-ups 
due to the use of paper that is too weak. Their third "pack," 
Anton Radevsky's Wonders of Architecture, was displayed 
only in its blank dummy but will be published in the spring of 
2004. We later heard from Mr. Zlatarev, the publisher of the 
Bulgarian publishing house Kibea, packagers of the book, that 
Mr. Radevsky was not satisfied with the quality of his dummy 
and planned to go to Ecuador himself to supervise the 
production of this book on the premises of Imprenta 
Marescal, the new assembling company of Guillermo 
Holguin in Ibarra, near Quito. Let's hope this will ensure that 
the great dummy of this book, as seen last year, will become 
an equally great published book! 

A pop-up for adults only is The Pop-up Kama Sutra 
(Stewart, Tabori & Chang, 1-58479-302-3) with 48 pages of 
text and "six paper-engineered variations " by Keith Finch. 
The intriguing technique of the paper movement of the third 
variation (on page 25) puzzles me still. Some of the other 
ones, like the camel variation or the elephant variation, I 
think are less appealing experiences. However, the book itself 
was so appealing that the copy was stolen from the stand of 
the publisher on the very first day of the fair! 

Also for adults only - though not for erotic reasons - will 
be the "panascopic model" designed by the Amsterdam artist 
and local tattoo king Henk Schiffrnacher. His Dias de los 
muertos (90-7720-403-2) has an elaborate scene of a 
sanctuary with a central crucifix. He uses all kinds of 
(international) tattoo symbols to decorate the body of the 
crucified Christ and the stained glass windows that border the 
semi-religious scene. Some sheets with press-out figures are 
provided to people the scene. Intended as a domestic altar, it 
honors of his father who recently passed away. It will be 
published early 2004 by Idea Books in Amsterdam. 

... and other children 

Designed for both adults and children, Pomegranate has 
the boxed Teatro de Mexico: A Folk Art Toy Theatre by 
Bunny Pierce Huffman, with fold-out scenery and loose 
figures and props to perform the play included in the book. It 
is a bit in the tradition of their book from last year, the 
(reprint of) Edward Gorey's Dracula, but more colorful and 
Mexican. 

It is hard to say what the target age is for the two new 
magnificent pop-up books published by Simon & Schuster. 
Robert Sabuda's Alice's Adventures in Wonderland: A 
Classic Collectible Pop-up (0-689-84743-2), in which Robert 
"has outdone himself (as the Little Simon catalog reads), has 
not only with a wealth of pop-ups but also inserted booklets, 
foil, flocking and acetate. We don't have to say much more on 
the book after its exultant review by Marilyn Olin in the last 
number of the Movable Stationery, rating it with a full 5+. I 



12 




am sure all lovers of Sabuda's paper engineering already 
have their copies and have been intrigued by, in Marilyn 
Olin's words, his "phenomenal" paper work. I just wonder 
why none of his books are published in European editions. 
Is it a result of globalization that spreads the American 
original all over the world? Or are Robert's books too 
American for other editions? 

Another gem from Little 
Simon and also A Classic 
Collectible Pop-up, is Kees 
Moerbeek's version of 
Raggedy Ann and Andy and 
the Camel with the Wrinkled 
Knees (0-689-85775-6), 
based on Johnny Gruelle's 
classic story. His stories about 
the rag doll are so American, 
and hardly known abroad, 
that S&S didn't even bring a 
copy of the pop-up edition to 
display at the Frankfurt Fair since they didn't anticipate 
any interest from European publishers. Happily, I had an 
appointment to meet Kees and his wife, Carla Dijs, at the 
Fair and he proudly showed me his copy, pointing out 
several easily overlooked details. Though initially a 
different illustrator was planned, Kees did the illustrations 
himself after he offered colored proofs based on Gruelle's 
original artwork. He was pleased that no one had 
discovered which parts of his illustrations were Gruelle's 
and which ones he had added himself. A fight with the 
publisher was needed to print the "wrong" side of the 
paper but he especially liked doing that since it gives the 
plates the "nostalgic" look that characterizes the finished 
book. For a good illustration of what he meant to realize, 
see the back of the pirate ship on spread five that has been 
printed on the "normal" side of the paper and compare it 
with the front of that same ship. What is also striking is 
the sturdiness of the paper that has been chosen for this 
book. All spreads open tightly and the pop-ups unfold 
easily and stand straight on the flat surface amidst the two 
narrow booklets - with more pop-ups and a "running gag" 
window- hinged on both sides of the pages and providing 
extra strength to the opened spread. The over-all design of 
the book is reserved and quiet and that is a treat to look at. 
A masterwork of moderation that makes the master! As a 
collector I especially love that the paper of the pop-ups 
when flattened has been well spread within the book block 
so that, as a result, the book can be nicely shelved - 
without the usual bubbling from which pop-up books so 
often suffer! For me, in all respects, it is a model pop-up 
book. Mr. Moerbeek said that he himself is very happy 
with this book and that he thought he succeeded in 
everything. In the meanwhile he is already working on a 
future project, finishing the paper engineering for the 
prestigious Stephen King pop-up book, an abridgement of 



the 1999 bestseller The Girl Who Loved Tom Gordon. It will 
be published in 2004. Kees and his wife also showed me nice 
designs of some new projects for which they tried to interest 
publishers at the fair but, unfortunately, they asked me not to 
reveal them yet to the readership. Sorry. 

Simon and Schuster also displayed Counting Creatures: 
Pop-up Animals from 1 to 100 (0-689-85387-4) by David and 
(daughter) Sophie Pelham, the long awaited sequel to A is for 
Animal that will finally come out in 2004. Key Porter Books 
from Toronto, Canada, announced The Tall Ship Pop-up that 
will include an exact scale model of the famous Bluenose tall 
ship, a schooner that was built in 1921. And at the stand of 
Walker Books we admired the dummy of Jan Pienkowski's 
The First Noel, a Christmas carousel in gold, illustrating the 
nativity story in five compartments and done in die-cut 
silhouettes against a red background. It is rather glittery but 
it will be loved by the fans of Pienkowski's works. His book 
The Cat with Nine Lives that we saw last year at the stand of 
his packager Matthew Price, has, unfortunately, not yet been 
sold to any publisher. 

Part 2 of this article will be printed in the May issue. 



Gerard Lo Monaco, continued from page 7 

Lo Monaco started out as a designer of theater scenery, but 
he is now the artistic director of the children's book list. He 
also occasionally designs CD packages for the French artists 
he loves. His personal style is distinguished by its nostalgic 
character inspired by the fair, the optical illusion from the 
theater, and antique toys. Recently two lovely items designed 
by him for the music industry came onto the French market. 

In 1995 he was 
invited to make a 
CD case-with-an- 
extra for Charles 
Trenet's Fais ta 
Vie. Inspired by 
the paper toy from 
the 19 th century, 
he made a great 
peepshow that 
unfolds from 
within the CD 
box. The front of the peepshow shows a theater proscenium 
in a rather geometrical style with the name of the well-known 
French singer in a small border at the top and the audience 
attending the performance at the bottom. Four pierced 
partitions, made by folding slips connected upside and 
downside with the backdrop, show the stage performance of 
the artist in a wonderful perspective simulating theatrical 
depth. The first edition of this special three-dimensional 
packaging, done in a run of 10,000 copies and remarkably 
more expensive than the copies that came in the usual plastic 
box at the same time, sold out in no time. Another 10,000 




Charles Trenet's Fais ta Vie 



13 



copies were produced. This proved the theory that Lo 
Monaco used to convince the company to make the CD, 
the price doesn't matter when the novelty of the design is 
pleasing. Meanwhile this item is no longer available but 
a third reprint is being considered. 

Last year he was asked by Virgin Music to design the 
box of Le Roman de Renaud that brings together the 
complete works of another well-known French 
"chansonnier," Mr. Renaud. For the collection set of 20 
CDs he designed a wonderful carousel book that shows the 
working life of Renaud (born 1952) from his first album 
in 1975 until his (provisional) last one, Tournee d'enfer 
(2003). The book contains six compartments, each with a 
proscenium border printed with short biographical text at 
the bottom, two die-cut layers, and a backdrop. The border 
continues in red but the illustrations within - by Joelle 
Jolivet - are done in black lino-cuts against a background 
that changes colors in each scene. It offers by this both the 
changing mood of various periods in the career of the 
artist as well as a specific atmosphere reminiscent of the 
1960s or 1970s. The play on the word Renard (French for 
fox) and the artist's name result in the title of the box 
referring to the medieval Le Roman de Renard, the 
manuscript that gave the first written text of the History of 
Reynard the Fox, and declares the presence of the fox in 
the illustrations. The book, carefully executed by Tien 
Wah Press, came out in the fall of 2003 in an edition of 
8,000 copies for sale as part of the 20 CD boxed set. It was 
a remarkably large number of copies since the box sold for 
almost $500.00. However this box has already sold out. 
The French press was unanimous in its praise of the 
packaging. 

Unfortunately, 
neither of the pop-ups 
are available. The 
peepshow completely 
sold out and the 
carousel book was not 
for sale separately, 
apart from the 
expensive box. 
But. ..Mr. Lo Monaco 
proved so kind as to 
offer 10 remaining 
copies of the Renaud 
carousel book from 

his private stock to the readers of Movable Stationery 

only! And, for a mere 20.00 Euro each, postage included! 

If you are interested, contact him directly through his 

e-mail address: lo.monaco@laposte.net. 

* * * 




Vojtech Kubasta exhibit, continued from page 2 

The exhibition was accompanied by a book with a same 
title: Pop Up: The Three-dimensional Books of Vojtech 
Kubasta, designed and produced by the curators. We can be 
grateful that the authors wrote and published this monograph 
since books on pop-up books are rare and books on one 
specific artist are more rare. Since the book appears in an 
edition limited to only 1 ,000 copies, every lover of Kubasta's 
books should be sure to get a copy as soon as possible. For it 
is a great book! It is especially appealing because it has over 
300 (!) color pictures of front covers and opened pop-up 
scenes - sometimes doubled to show the movements. Exactly 
100 different titles have been illustrated ranging from the 
well-known fairytale books through all (except for one) 
"Panascopic Models," to rarities like an Aladdin edition done 
in shadow boxes, and small booklets on animals that appear 
to have been published only in South America (Brazil and 
Argentina). The quality of both the photography and the 
printing is so good, the number of books pictured so 
extensive, and the over-all production of the sturdy book 
(measuring 245x285 mm) so well done that it will be a 
treasured addition to any shelf of pop-up reference books. 
This quality, of course, could be expected from its two 
creators since they are in "normal life" graphic designers! 

The book opens with a four-page biographical sketch 
illustrated with seven black-and-white pictures showing Mr. 
Kubasta as a baby in 1915, with his parents and sister in 
1935, with his wife and two daughters in 1951, and concludes 
with what looks like an official portrait at his working table 
in 1984 when he was 70 years of age. The text also includes 
some information about the publishing houses that issued his 
books, especially Artia from Prague. Dagmar Kubastova- 
Vrkljan contributed "Memories of my father," a loving 
personal text by one of his two daughters that gives a glimpse 
of family live in Prague, the hearty relationship she 
apparently continued to have with him after her emigration to 
Canada in 1968, at the age of 20, and her thoughts about life 
without her father since his death in 1992. This contribution 
again is illustrated with some pictures from family albums. 

In the remaining 12 chapters the authors describe and 
discuss the importance they ascribe to the groups of books 
illustrated, designed and/or paper engineered by the master. 
Each chapter starts with brief text of only 18 to 28 lines that 
defines the category into which the works have been classified 
and gives some additional information or (personal) 
appreciation of those books. The categories have been chosen 
based on the subject of the books, their appearance, the period 
of origin, or the intended age of the readership. 

The book has a short chapter on early illustrated books of 
the 1940s and a another short one (only one double spread 
each) on some advertising cards with simple pop-ups or 
movable elements from the 1950s, illustrated with examples 



14 



from the collection of our fellow member Ellen Rubin. 
The longest chapter of the book includes the titles from 
the well-known series of fairytale pop-up books. They are 
both the early half-cloth cover titles with the movable 
element and the later more glossy ones without the 
movable. In all, 27 titles in the series are included plus 
three that later were issued in a different size (here, 
unfortunately not recorded). Copies in different languages 
have been used for illustration but the title in the 
description is, in this part of the book, always in German. 
Additional information indicates which picture(s) belong 
with which book. As in the rest of the book, the dates 
given with the titles are those in the displayed copies. 

In a same way, the Tip + Top series, the booklets from 
the counting series, the "Panascopic Models," the "white 
series," and the Disney spin-offs receive their own 
chapters in the book and are most abundantly illustrated. 
The twelve books of the counting series are an enigmatic 
exception as they are given only two pages with two small 
pictures of the pop-ups shown next to the twelve front 
covers. 

Three remaining chapters include "City Views," a 
miscellany of Christmas nativities, pop-up and folding 
cards, and books with city scenes. Most of the views are of 
Prague but there are also illustrations of the Slovakian 
town of Brno as well as Czech castles and palaces. A 
chapter with the not too informative title of "Youth 
Books" includes the five pop-up books called (by Michael 
Dawson) the "Windowpane" series and an Aladdin with, 
an unusual, for Kubasta, shadowbox technique. 
"Children's books" features another nine pop-up books 
that apparently could not be categorized by the authors 
into any of the other chapters. 

The final chapter has just one double spread with an 
assortment of other children's books illustrated by Kubasta 
that are not three-dimensional - and by including these 
thus stretches the contents beyond the title of the book. 

This first book on Vojtech Kubasta and his sought-after 
pop-up books is beautifully produced, profusely illustrated 
with a wealth of colorful pictures and gives, by showing 
some pictures from the family album, a peek into the 
scenes of his life. Going through it will be a feast of 
recognition for any collector of pop-up books, but it will 
also be a book in which many will find a lot of books and 
pop-up spreads that hitherto were unknown. 

Pop Up: Die dreidimensionalen Biicher des Vojtech 
Kubasta is a true homage by the authors to the man who 
spent over three decades making many pop-up books was 
relatively unknown as a person and whose full work has 
not been brought together until now. 



After all this information and appreciation of the book, I 
do feel, however, a need to insert some critical notes. For 
when I read the text of the book and admired the richness of 
the pictorial material in it, the first thing that came into my 
mind was "What a great opportunity has been missed to make 
out of this the ultimate book on Kubasta's work." The 
noteworthy thing that is missing is a bibliography of all the 
recorded pop-up books. It is unforgivable since Michael 
Dawson has already done so much initial research in his 1997 
"tentative check-list" and that has since been continued by 
several other specialists. True, the authors state in the 
Impressum "In this book almost all three-dimensional books 
by Vojtech Kubasta known to the authors have been pictured. 
No pretense at all is made by this to being exhaustive" (the 
translation is mine, TG). But how easy it would have been to 
be complete with the help of some specialists....! And, as far 
as I can see, not too much has been missed by them. Even a 
greater pity since they had access to the Artia/Aventinum 
archive in Prague through their contacts with and visits with 
Mr. and Mrs. Pavlik (misspelled in the Impressum as Pavlin 
and by this easily confusing him with the paper engineer of 
that name who worked for Artia). They also had entree to the 
family archive through their contacts with Dagmar 
Kubastova-Vrkljan and were also assisted by the Czech 
speaking Mr. Beran, the antiquarian bookseller of Antiquariat 
"Am Rhein" and connoisseur of the Czechoslovakian 
children's books of the period. 

Except for the quote above, the book doesn't give any real 
explanation of the intended audience. When they extensively 
describe what a pop-up book is you might think the book is 
designed to serve the layman. But the text at the beginning of 
the chapters is so complex that I think even a professional 
will have problems understanding them. Generally this is 
because the work is viewed from the perspective of graphic 
design - not a surprise since the authors are graphic designers 
by profession. But if the aim is for that specific readership 
and anticipates a professional evaluation ofKubasta's artwork 
- it fails from that perspective as well. 

The texts, in general, have a rather bland tone and the 
collectors have not shown a sound critical distance from their 
subject. A good editor was needed as well as a foreword to 
explain both the intention of the authors and ajustification for 
the taxonomy used to handle the material. Short directions for 
the use of the book and the covered dates would have been 
helpful, too. (Think, for instance, of the years of publication 
mentioned above, or the way the narratives of the pictured 
books should be read). 

Missing also is a good historian of children's book who 
could have provided more appropriate categorization to avoid 
such categories of pop-up books as "Youth Books" and 
"Children's Books" or the category of "Illustrated Books" 
within the works of an illustrator. A more knowledgeable 
person would have included a category, for instance, of 



15 




Christmas nativities, and could have advised on a more 
logical grouping of titles into the categories, for example 
by pointing out Aladdin and Mutti bitte erzdhle as 
fairytale books. He would have been capable, also, of 
putting the work of Kubasta in place amidst the rest of the 
published children's books of the time, to compare and to 
show what was traditional about it, what was old- 
fashioned (the authors themselves state that his work is 
rooted in the pictorial icons of the 1930s), or what was 
new about them. Maybe a chronology could have been 
included as well and some more systematic remarks on the 
distribution and the worldwide reception of the books 
since copies in many languages have been included. 

A specialist of pop-up 
books should have been 
involved, too, and could 
have given information 
about which of the books 
are rare and therefore 
should have been covered 
more thoroughly than the 
more common ones. For 
example, the Flight in the 
Universe or the only 
advent calendar KubaSta 
ever made, from which now only the front covers have 
been pictured, should surely have been shown open! Such 
a specialist could also have written about the incluence of 
KubaSta's pop-up books and his place as a paper engineer 
in relationship to the production of other pop-up books in 
the 1960s and 1970s. The authors conclude with a simple 
and very disputable statement: "Pop-up books have been 
produced in the 1960s elsewhere in the world. As a 
matter of fact many of them and not only bad ones. But 
when one liked to know from where the most of them, the 
most elaborate and most beautiful ones originated, the 
answer always had been the same: from ARTIA in 
PragueT (p. 89, the translation is mine, TG). Here the 
authors betray their lack of knowledge of the pop-ups that 
were produced in the rest of the world at that time and the 
development of the genre made in exactly those years! 
Maybe the most copies came from Artia, but surely not the 
most elaborate nor the most beautiful pop-ups. 

The legends accompanying the pictured books need 
additional help. There is always just one statement even 
when more than one picture is shown. An additional 
remark is used to indicate if there is one (indicated by the 
singular Innenseite) or are more (Innenseiten) pictures of 
open spreads. Mostly one recognizes the pictured spreads 
as belonging to a title because of knowledge of the 
common fairytales. But when the fairytale or the content 
of a book is unknown, this causes problems. The pages 82- 
83, for example, show three front covers of books and 



seven opened pop-up spreads from them, but it is hard to say 
which spread belongs to which title. 

Likewise, the year of publication as given in the legend is 
rather confusing. Apparently - but nowhere indicated - they 
are giving the year of publication of the copy that has been 
used for the illustration, without any indication of the year of 
the first edition (nor where or in what language the first 
edition was issued). As a result, it is rather confusing to read 
in the text on page 17 that the fairytales series started in 1956 
with Little Red Riding Hood and at the same time to see that 
the description with the illustration of this book on the 
opposite page has the year 1959! Or, in another example, to 
find three copies from the series of Andersen fairytales 
showing the coin with the head of the writer, having the year 
1 974 (on the pages 26, 27 and 29) and a fourth one from the 
very same series having 1985 (on p 28)...! Again, an editor 
would have seen and corrected these inconsistencies. 

Finally, as a book of reference its importance would have 
greatly been enhanced by the enclosure of a register! 

What a real pity it is that the authors didn't contact some 
other collectors. They would have benefitted from using all 
the knowledge available on the subject, for collectors of pop- 
up books are generally very willing to share their 
information ! Maybe in that case the ultimate book on Kubasta 
(from which point of view I have read the book and written 
this review) could have been written. 

Admittedly, the authors show they have a great love of the 
works of Mr. Kubasta but are also a bit blinded by this 
admiration. However, by their work they show they are not 
specialists in the field of pop-up books or children's books in 
general and this brings into question the reliability of the 
(bibliographical) dates. 

But they surely succeeded in making a wonderful coffee 
table book that will be treasured above all for the magnificent 
pictorial survey of the pop-up books of the Czech illustrator 
and master paper engineer. So, my compliments for this! 

The exhibition: Pop up: Die dreidimensionalen Bucher 
des Vojtech Kubasta can be seen until March 28, 2004 in the 
KulturBrauerei, Knaackstrasse 97, 10435 Berlin, Germany. 
The curators hope to display the exhibition later in other 
museums in Germany or abroad and invite people to contact 
them for further details: gubig-koepcke@t-online.de. 

The book: Thomas Gubig and Sebastian Kopcke, Pop up: 
Die dreidimensionalen Bucher des Vojtech Kubasta. Berlin, 
Gubig & Kopcke, 2003. No ISBN. Privately published by the 
authors. 96 pages. Euro 39.00. Only available with German 
texts. Available online at: www.pop-up-buecher.de. 



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3 9088 01629 3060